0:00-0:17 First of all, I can say that I’m a selfish artist.
0:17-0:20 Because when I’m working,
0:20-0:27 it’s difficult for me to think about the finished work.
0:27-0:33 When I’m working, I think mainly about myself.
0:33-0:41 It’s as if I’m looking for a kind of cure while I’m working.
0:42-0:43 In the first place, for myself.
0:44-0:52 But at the same time, my work also sheds light on the society in which I live.
0:53-0:54 Kinshasa and Congo.
0:55-1:00 And I also make references to historical facts,
1:01-1:04 and to ancient times,
1:05-1:10 in order to conduct a study
1:10-1:13 into the effects of the past on the present.
1:15-1:18 At the same time, I realise that there’s a problem in Congo.
1:18-1:22 The Congolese society is one of them,
1:22-1:25 because it has no actual connection with art.
1:25-1:33 It’s a society that’s fallen victim to a sort of exclusion.
1:33-1:37 As if people have been cut off from art.
1:38-1:44 These are the questions I ask myself during the course of my work.
1:45-1:54 How to restore the connection between Congolese society and art.
1:56-2:01 And I always try to do that differently.
2:02-2:04 But with regard to the finished work,
2:04-2:16 It’s important, for me, that my artworks end up in museums.
2:17-2:20 I mean museums all over the world.
2:20-2:23 Also in Kinshasa.
2:24-2:29 I hope that, in time, there will be more museums in Kinshasa.
2:30-2:37 When I talk about museums, I’m thinking specifically about preservation.
2:38-2:46 Congolese artists have always loved to create works of art for their society.
2:47-2:50 Yet the problem of preservation still isn’t resolved.
2:50-2:53 It’s really not working, you see?
2:54-2:56 And I also have the idea –
2:57-3:04 I always dream of being able to donate my works to Congolese museums.
3:05-3:09 For example, the Musée de l’Echangeur.
3:10-3:14 It’s too bad, because every time I go there,
3:18-3:19 I see that from a conservation standpoint it’s not worth donating my work.
3:20-3:23 I can donate an artwork to Kin ArtStudio
3:23-3:29 This happens a lot, so I’ll also donate.
3:30-3:37 But at the same time, as an artist, it’s also important
3:38-3:42 to use my art to create a kind of connection with Congolese society.
3:43-3:50 And, for the moment, I’m thinking about how I can realise that connection.
3:51-3:54 I’m trying to set up a project
3:55-4:02 to help get rid of that exclusion.
4:03-4:08 This exclusion, which dates back to the past,
4:09-4:12 and which has severed the connection between art and society.
4:13-4:16 I’m trying to launch just such a project.
4:16-4:18 I’m mulling it over.
4:18-4:23 I believe that by next year,
4:24-4:26 I’ll be ready to put this project in place.
4:27-4:32 And it’s a project that’s really directed towards society.
4:33-4:36 It might not involve making exhibitions in public spaces.
4:38-4:43 But trying, for example, to show films of my work,
4:44-4:48 or films by other Congolese artists,
4:49-4:51 or, why not, by other people as well.
4:52-5:00 To try and offer to the public, to society, the work we do.
5:01-5:04 And also the work that I produce.
5:05-5:12 In the end, to try and convey the reflections that I make through my own work.